To Young Singers

The RUCH MUZYCZNY, No. 5 (May 2016) has published this text.

Prof. Jerzy Marchwiński

To  Young Singers

         When  Tomasz Cyz, the editor in chief of  Polish music magazine   Ruch Muzyczny  asked me to write a few words addressed to young singers, I thought at first  to refuse.  Such remarks should rather be authored by a professional singer and not by a pianist.  However, after a moment's consideration I changed my opinion. I do not seem to be a  typical pianist, as the fate bestowed on me a rare gift – a chance to work with awesome singing partners: internationally recognized as cult singer
Ewa Podleś who is my life partner,  Halina Słonicka who was an excellent artist and mother of my daughter Anna,  phenomenal  Teresa Żylis-Gara, inimitable  Maureen Forrester and crystal-clear artist  Andrzej Hiolski. Upon reflection, it seems that I may have   enough reasons to justify voicing my opinion on singing; naturally it is a purely personal judgement. 

         First and foremost, nobody can will himself or herself to become a signer or any other artist for that matter. You have to be born a singer, with appropriate voice although it may be initially unrecognisable; it seems that extraordinary sensitivity of the psyche is also a must.   With these two in place, one may start thinking about singing. 

         The second thing is to learn how to professionally use one's voice as an instrument.  The basic knowledge is of paramount importance here. It is just like driving: first you have to expertly manoeuvre your car to aspire to Formula I.

         Finding an appropriate mentor is the third requirement, and there is no point to hide this fact. In my opinion, universal pedagogues do not happen in art.  Some mentors are simply ill-suited to teach certain students, and some students are ill-suited to be formed by  certain mentors.  It is extremely important to understand that one can learn a profession only.  Nobody has ever  succeeded in teaching people talent which is an endowed treasure.  It is a vain quest to seek a shaman who will do it. You  either have talent or not.  Although it is very useful to learn  a profession, which can be done by every young person even if sparingly gifted,   there is no point to strive for  the Parnassos   if one lacks talent.

         Fourthly, it is of vital importance to identify one's potential and to begin functioning accordingly. This is an excellent defence against the devastating effects of frustration. Small can be truly beautiful.  Not everybody has a suitable disposition  to circulate between  La Scala and the MET. I know artists who have lived a very happy life just singing in a choir!

         Fifthly, be aware that a singer is endowed with a unique and extraordinary instrument, unlike any other.  A Steinway or Stradivarius is not affected by the health of the performer.  How about your voice? All the minor ailments, incomplete closures, harmful vocal behaviours may quickly deteriorate the value of even the most exquisite instrument.   Forgive me to use the diction of the past era, but please, always put  the work safety rules first. Thoughtful, unhurried choice of the repertoire, rational training and necessary rest are invaluable.  Patience, young person! A young  Rosina should not take up  Azucena, even for an exorbitant royalty! One wrong contract can ruin your voice forever (I know names and details!). It might really be worthwhile to keep in mind the reflections of the great Battistini who said  that a singer should never approach  100% of his potential.

         Also, the high level of mastering the profession and the wide enough  horizon of sensitivity allow  to perform the whole variety of the repertoire. However, the essence of singing always remains the same.  Naturally, there are understandable differences  similar to those  between playing  Scarlatti and  Bartok on the piano while the essence of pianism remains the same. 

         The final and perhaps the most important point is that you do not sing for yourself but for your audience which  craves for an encounter with the beauty of Art.  The palette of professional abilities is being enriched until the last breath. Singing is by no means limited to  the vocal; above all, it encompasses  the text and the drama to which the voice should be  subservient. 

Jmarchwinski@gmail.com